The Merchant of Venice ACT I SCENE I. Venice. A street. Enter ANTONIO, SALARINO, and SALANIO ANTONIO In sooth, I know not why I am so sad: It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me, That I have much ado to know myself. SALARINO Your mind is tossing on the ocean; There, where your argosies with portly sail, Like signiors and rich burghers
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Strobist Lighting 101 (all text by David Hobby, taken from http://strobist.blogspot.com/2006/03/lighting-101.html, version 05/06/07) Intimidated by the idea of off-camera lighting? Don't be. We are pretty much starting from scratch, so no worries. The first posts will be about what kind of gear you will need to do the minimalist strobe thing. When we are done having our way with your wallet (remembering that light gives you far more bangfor-the-buck than does fast glass or the latest digital
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heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last
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Thought and Structure of Comedy — The Tragic and the Comic fade into each other by almost insensible gradations, and the greatest beauty of a poetical work often consists in the harmonious blending of these two elements. Not only in the same drama may both exist in perfect unison, but even in the same character. Great actors generally have a similar quality, and frequently it is hard to tell whether their impersonations be more humorous or more pathetic. This happy transfusion and interchange of
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The greatest of the silent clowns is Buster Keaton, not only because of what he did, but because of how he did it. Harold Lloyd made us laugh as much, Charlie Chaplin moved us more deeply, but no one had more courage than Buster. I define courage as Hemingway did: "Grace under pressure." In films that combined comedy with extraordinary physical risks, Buster Keaton played a brave spirit who took the universe on its own terms, and gave no quarter. I'm immersed in his career right now, viewing all
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100 Best First Lines from famous Novels 1. Call me Ishmael. —Herman Melville, Moby-Dick (1851) 2. It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. —Jane Austen, Pride and Prejudice (1813) 3. A screaming comes across the sky. —Thomas Pynchon, Gravity's Rainbow (1973) 4. Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover
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Procuress and its style is closely related to it, with its broad handling of paint, deep shadows and rich, saturated colors. The subject – a glimpse into the corner of a room where a young woman is totally absorbed in reading a letter – is quite unlike those painted by the Caravaggisti. Vermeer emphasizes the sense of our entering a private world by placing an illusionistic curtain on a rail in front of the scene. It was quite usual in Holland in the seventeenth century to protect paintings from sunlight
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Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt
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" Abelardo Morell – A Book of Books A visual tribute to the printed word, this ode to books will be irresistible to anyone who treasures the touch of fine paper and the special allure of a clothbound volume. A Book of Books showcases Abelardo Morell's elegant black and-white photographs of unusual books - an impossibly large dictionary, illustrated volumes whose characters appear to leap off the page, and water-damaged books that take on sculptural form. Nicholson Baker has written extensively
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cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid jade-faced painters who, in an art that is necessarily
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